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Poster: jerlouvis Date: Jul 26, 2011 6:11pm
Forum: GratefulDead Subject: Other One- A Study in Contrast

Just to point out the versatility and growth/change in one of the bands bedrock improvisatory pieces,I thought I would link an extraordinary version from each year between 68'-74' with my notes.In listening to the song in this manner I feel you can get good snapshot of the development of the song and the band.What I found particularly interesting was how they could take a fairly rigidly structured song and open it up in so many different ways,using the main theme as an improvisatory tool in a way,in how and where they introduced it,how they chose to play it,how often they would return to it,etcetera.What am I trying to get at is a discussion of the Other One in all it's versatile glory.I'm not suggesting anyone listen to all 9 versions I posted,I just put them out there to be listened to (or not) however you see fit,it seemed an interesting way to juxtapose the music.

*quoted timings are approximate

10-12-68 Avalon Ballroom S.F.
http://www.archive.org/details/gd1968-10-12.sbd.gans.miller.owen.9385.shnf

A rollicking,drum driven version,sharp ringing Jer licks,solid popping Phil -> nice full Cryptical

5-3-69 Winterland S.F.
http://www.archive.org/details/gd69-05-03.aud.phunk1.73.sbeok.shnf

Nice open-> good jam on main theme->2:00 band sounds great,potent theme jam-> 3:45 1st verse ->4:30 Jer screeches-> smokin' jam,deep Phil,good keys,nice Bob underneath ->7:00 pumpin' Phil,swirling TC,edgy Bob rhythm-> full band jam on theme-> verse->Cryptical

4-15-70 Winterland S.F.
http://www.archive.org/details/gd70-04-15.sbd.kaplan.14354.sbeok.shnf

Jam-opens with drums on top,3 riffy guitars,keys underneath-> 2:00 drums/bass out front,sharp rhythm guitars -> 4:00 Jer cooks some leads,churning rhythm guitar->drums->5:20->Other One- regular open-> strong jam on theme->2:00 band is stompin'->2:45 1st verse->3:15 nice pulsing jam,guitars/Phil are just going->5:00 Jer leads shuffle-ish jam on theme-> relaxed churning jam->7:00 thumping theme,music cooks->2nd verse->8:45

Since 71' featured 2 distinctly different versions of the band,I put up 2 versions of he song.

7-2-71 Fillmore West S.F.
http://www.archive.org/details/gd1971-07-02.sbd.unknown.18289.flac16

Main theme jam->2:00 quiet spacey jam->3:15 Jer picks on theme,band falls in->nice swirling Jer/Bob guitar blend->6:00 1st verse->7:00 Jer leads soft spacey jam,Phil rumbles,guitars get twisted laid back style->9:00 Jer plays relaxed scary leads,band sounds real good,Weir is ripping,intense Jer/Weir meld->11:00 Jer on top plays chunky leads,band is on it-> mellow swingin' jam->full band jam on theme->13:45 2nd verse-> Cryptical

11-12-71 San Antonio Tx
http://www.archive.org/details/gd1971-11-12.sbd-set2.miller.14916.sbeok.shnf

Regular open-> main theme->1:15 nice long Jer riffs,strong Phil->spacey main theme jam->3:15 nice Keith/Jer mix,poppin' Phil,good Weir rhythm->4:15 Jer plays quick leads,Phil pumps,band starts to cook->thumpy main theme jam->6:30 soft full band space,morse code Jer,Weir comps softly underneath,snappy Billy,band is in smooth groove->Weir peels of some chunky rhythm,Jer rolls off some quick licks,Phil flows underneath->8:30 Jer is smokin',band is on it,hints of Feelin' Groovy/UJB jam->all 3 guitars cook,nice lock in->10:00 good Jer leads,nice piano fills-> main theme licks->12:00 1st verse->12:45 Jer plays nice soft leads,Keith plays off Jer nicely->14:00 Jer leads band in quiet space->15:45 Jer plays repetitive licks,band starts to go->17:45 main theme space out,Phil plays leads,sharp Billy,nice cymbals-> edgy space,pretty piano fills->main theme,band rocks->20:30 2nd verse->21:14->Cryptical

9-15-72 Boston Music Hall Boston Ma.
http://www.archive.org/details/gd72-09-15.psdb.kaplan.8046.sbeok.shnf

strong Keith version
Phil opens with Keith underneath,Jer joins in->0:45 full band main theme jam,Weir is ripping->2:45 Jer out front,band is smooth,locked in,nice Keith runs->5:00 1st verse->5;45 Phil leads main theme jam,Jer feeds back underneath,strange swirling Keith,very nice->7:30 Jer is going,sort of funk rhythm Weir,good piano fills->8;30 jazzy jam,Jer out front,smooth leads,Weir cooks,out discordant Keith,nice drums and cymbals,sweet jam->boys are locked in,cascading jam,just smokin'->10:30 killer guitars,piano creeps in,full band shredding->12:15 full on insect jam(tiger jam)->twisted slow melt Jer,resounding Phil,Billy bounces around,sweet Keith->14:00 sort of demented walkin' jazz shuffle->full band space->Keith plays some Art Tatum like licks->18:00 loud dissonant Phil,pretty piano,strong Jer ringers->19:30 main theme jam->21:30 2nd verse-> 22:02

11-23-73 El Paso Tx.
http://www.archive.org/details/gd1973-11-23.sbd.miller.112801.flac16

Loose spacey open->1:15 Phil leads out with good Billy,Jer underneath,main theme feel->2:45 pace quickens Keith steps in->blues like shuffle->4:15 jazzy jam on theme,nice Keith/Weir lock,Jer on top,solid Billy->6:00 real good Bob rhythm,strong Phil,band cooks,spacey main theme hints->8:00 full band main theme jam->10:15 1st verse->11:00 space,just Jer soft picking with Weir,Keith adds quiet touches-> interesting trio of Jer,Weir and Keith develops->13:00 relaxed soft space,classical feel->15:00 insect piano along with nicely strummed guitars,plucked Phil,unique music absolutely killer->tape jump-> frenzied free jazz scraping,plucking,bouncing Keith->18:00 sonic Phil blast,mothership has landed music,Keith swirls,Phil rattles buiding->fog horn blasts,beautiful piano,quiet violin like sounds-> rumbling space->21:38

8-6-74 Jersey City N.J.
Here is audience source available on archive,I used Dick's Picks 31 for my review.
http://www.archive.org/details/gd74-08-06.merin.weiner.gdADT.5914.sbefail.shnf

Jam-odd,aggressive,dissonant open,rhythm section/piano out front,Jer riffs off them->2:00 Jer takes over,nice flowing,shimmering leads,cool Fender Rhoades licks from Keith,snappy hi-hat and drums,deep Phil,funky jam->4:00 band is cookin',fully locked in,tight fluid jam->6:00 Jer on top of riffy funky feel,Phil is just pumpin',mix of jam ideas,Goin' Down hints->8:15 main theme jam,Billy is going,Jer rings out,Weir goes off underneath-> 10:45 soft quiet space,mellow winding guitars->relaxed jazz space vibe->14:30 intensity picks up,Phil gets a little rowdy,band joins in->Jer starts to rip with Weir,Phil throbs,Billy is in the pocket,music swells and screams->18:00 Jer peels of leads ,band is flying,hot keys,smokin' drums,thumpy Phil,sweet swirling Weir-> drums out front,guitars are just flowing,jazz style,beautiful music->21:11





This post was modified by jerlouvis on 2011-07-27 01:08:45

This post was modified by jerlouvis on 2011-07-27 01:11:47

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Poster: light into ashes Date: Jul 27, 2011 10:33pm
Forum: GratefulDead Subject: Re: Other One- A Study in Contrast

There were a few turning points in the Other One's early development...
One was in '68, when the jamming in the suite (mainly the Cryptical part) was considerably expanded mid-year. I suspect they were intentionally performing "short" versions of the suite in the Northwest tour, knowing they had to fit it on an album side, but there's definitely a blossoming by the August shows.
While Cryptical reached its full maturity early on, the Other One section continued to grow in length & density until by itself it could top 10 minutes. This was fortunate as by late '69, they were already tiring of the Cryptical section (favoring a short segue to Cosmic Charlie, usually), and through 1970 Cryptical tended to get shorter, until in 1971 it disappeared.
Without its bookend, the Other One got relocated, usually coming out of Truckin' after late 1970. While it could go into any number of songs, in 1971 the preferred post-Other One song became Wharf Rat.

1971 was also the other big turning-point for the Other One, since in the early part of the year they started developing spacier sections where they'd leave the rhythm and wander off in other melodies, so it became musically much more varied. Also in Aug '71, they started interpolating Me & My Uncle in it, a crucial step - while they'd done 'sandwiches' like that before, they tended to be short-lived or not repeated. This changed not only the way they could play the Other One, but the way they could arrange a set & other jam medleys.
Plus, the possibilities for the Other One expanded enormously once Keith arrived - and, for once, the Dead jumped on these possibilities immediately. The next couple years you know - by '74, the Other One often became little more than a jumping-off point for a series of other distinct jams.

The story after that I'll continue in another post...

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Poster: bkidwell Date: Jul 27, 2011 2:35pm
Forum: GratefulDead Subject: Re: Other One- A Study in Contrast

This is a great post, I think "The Other One" deserves just as much in-depth exploration as Dark Star, and the central riff and its elaborations and evolutions might be the most primal and pervasive theme in their musical language.

This is a good selection of performances and the notes on the inner dynamics of the music illustrate how diverse the musical spaces that could be reached within the frame of the song are.

One "Other One" evening I think is very significant is the 11/14/73 performance which is another of the intricate late 73 sets I love so much -

Truckin -> Other One -> Big River -> Other One -> Eyes of the World -> Other One -> Wharf Rat

For whatever reason, that set has never seemed to get as much love as other late 73 masterpieces, and for me that set is in the top 10 for jam/continuity/structure, along with really good moment to moment virtuosity as well.

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Poster: jerlouvis Date: Jul 27, 2011 10:45pm
Forum: GratefulDead Subject: Re: Other One- A Study in Contrast

I'll have to admit bkidwell,I had to go to my notes to jog my memory of this show.As it turns out it was a well played show.The second set featured some fine music,not being a big Truckin' fan it got interesting for me with the O1,the first 15 minute segment included some jazzy,spacey and meltdown passages into a hot version of Big River back into the O1 for my favorite 6 minutes of the set,some real tight,everybody is on it ensemble playing -> a nice version of Eyes,highlighted by a sweet jam after the 2nd verse,the Eyes segues into a the end jam and 2nd verse of O1-> well sung Wharf Rat,Jer belts the got up and wandered verse.The rest of the set has a throw away Me+My,a regular Goin' Down and Saturday night encore.
I find conversation concerning Dark Star,Playin',and the Other One to be endlessly interesting,throw in Eyes,Bird Song,Let It Grow and a few selected versions of Here Comes Sunshine and I'm good to go.

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Poster: craven714 Date: Jul 26, 2011 7:49pm
Forum: GratefulDead Subject: Re: Other One- A Study in Contrast

nice jerlouvis. TOO was played so many times, its cool
of you to breakdown a few highlights. I will be sure
to give a listen as I read.
One that stands out in the latter era was on Billys Bday
in 89. It is quite the contrast you speak of: A Healy
laced, acid drenched, high octane fueled, balls against
the walls version with a nice Black Peter for a cool down.


http://www.archive.org/details/gd89-05-07.dsbd.stephens.10978.sbeok.shnf

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Poster: dark.starz Date: Jul 27, 2011 1:13pm
Forum: GratefulDead Subject: Re: Other One- A Study in Contrast

The Other One is a classic protagonist/antagonist argument in a musical sense that engages after Phil's intro as the band splits in two for a conversation in musical opposition reminiscent of a Beethoven, Mahler or Stravinsky symphony, only more chaotic. Versions sandwiched with the Cryptical Suite and Drum solo take on a completely different nature.

Saturday May 7th, 1989 at the Frost was as perfect of a setting, audience and performance as one could dream. The Dead performed several shows in the Bay Area and Sacramento during 1989 with the May 89 Frost and the June 89 Shoreline shows all being exceptional.


The August 89 Greek Theatre show expectations were high on the heels of the May 89 Frost and June 89 Shoreline shows. The performances at the Greek on August 17th and 18th were a little underwhelming for both the players on stage and the audience.


However, on Saturday afternoon August 19th the Dead demonstrated this most solid second set performance from start, through the Other One to encore.

http://www.archive.org/details/gd1989-08-19.sbd.walker-scotton.miller.83775.sbeok.flac16

Set 2

China Cat Sunflower -> I Know You Rider, Playing In The Band -> Uncle John's Band -> Drums -> Space -> The Other One -> Wharf Rat -> Not Fade Away E: Foolish Heart


The Grateful Dead performed The Other One some 450 times. It's interesting to follow the evolution of this structured open-form jam throughout all the evolutions of the Grateful Dead musician line-ups. August 1971 found the "one keyboard quintet" with only four band members on stage at The Auditorium Theatre perform this classic sandwich.

Cryptical Envelopment > Drums > The Other One > Me And My Uncle > The Other One > Cryptical Envelopment


A few short months later the "two keyboard sextet" performed this tasty version from Ann Arbor on December 14th, 1971.

Cryptical > Drums > The Other One

http://www.archive.org/details/gd1971-12-14.sbd.cantor-orf.133.shnf



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Poster: wisconsindead Date: Jul 26, 2011 7:24pm
Forum: GratefulDead Subject: Re: Other One- A Study in Contrast

Nice thread. You are totally right about there being an incredible amount of diversity in how it was played. Just the change from 70 to 72 is amazing as it is almost entirely different except for the main theme/rift. It also evolved nicely over the later years but rarely cashed in on the intensity of the earlier years. and unfortunately shortened up a lo. 2/5/78 and 1/22/78 are prime examples of a later rockin other one. I also love 11-08-85 (might be the 5th...) as well as 3-22-90.

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Poster: jerlouvis Date: Jul 27, 2011 9:17am
Forum: GratefulDead Subject: Re: Other One- A Study in Contrast

I listened to the 89' version you linked Craven,and while not being to familiar or a big fan of their post 85' output,they did seem to attack this version with some gusto and Jerry seemed to be into it.I can't say that I enjoy when Healy gets involved with his gadgets,and the brevity of versions in the 80's always put me off.Wisconsindead makes the point that post-hiatus versions lack the intensity of their earlier counterparts and that is very, true also the shortening of the song lends to it not developing intensity.For the most part I find the overwhelming majority of post-hiatus versions to be a pathetic,disservice to a once great unique piece of music.

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Poster: wisconsindead Date: Jul 27, 2011 1:48pm
Forum: GratefulDead Subject: Re: Other One- A Study in Contrast

What I find really odd is that they shortened the other one. Why did they do that? Did it just happen through evolution or was it conscious? They obviously still liked the song because they played it regularly. Mysterious...

Not only was it this catalyst for really rocking music. From late 71-74 it really opened up to an any type of jam vehicle. Dick's Picks 23 other one is a prime example of it being opened up to many different styles of music being played. At just short of 40 minutes, I would probably take that version if I could only have one.

I highly suggest that 85 version. If you love TOO, you'll love this one.